Court’s “Miss Julie” Contains Much

By Wes Hessel with D’Arcy Mies

Court Theatre’s “Miss Julie” is a provocative period piece about class and gender, taking place in Sweden in the late 19th century. When you enter, one notes the striking, memorable set – a detailed kitchen scene, with a cast iron stove, a large heavy table that will soon be used for many activities during the show, and bundles of herbs drying suspended above.  The entire round “room” is surrounded by a mesh curtain – whose transparency is changed by lighting shifts throughout the show – giving the central construct an enclosed, claustrophobic hot house feeling. This is surrounded by a swamp scene with moss, large succulent-type plants, and a glassy water-like floor.

There is much realism: the cook actually mixes bread dough from scratch, water is dipped from a bucket to clean, herbs are ground in a mortar and pestle, and when the Count’s valet/manservant Jean cleans the Count’s Boots, dust flies everywhere. This detail extends to the top notch performances of all three actors – Kelvin Roston Jr. (Jean), the cook Kristine (Rebecca Spence), and Mi Kang as the title character, the Count’s daughter. The play has much to say and do, with all of its events taking place over the course of one night.

The technicals are quite good: fine costumes – I really like the cook’s Victorian-Edwardian look, and a particularly inventive scenic design, which looks great.  There is significant strobe and other disconcerting lighting, paired with dissonant electronic music in parts, which are very theatrical.  Many subject matters involved are quite heavy, with some very mature themes and incidents. The chance to watch this involved work is only until March 8th, so please see www.courttheatre.org for tickets or more information.

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